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Journal articles on the topic 'Aesthetic theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Novakovic, Marko. "Renewal of aisthesis in contemporary aesthetics." Theoria, Beograd 62, no. 2 (2019): 17–34. http://dx.doi.org/10.2298/theo1902017n.

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The main subject of this work is the new aesthetics of atmospheres promoted in the last decades of 20th century by Gernot B?hme. Aesthetics of the atmospheres is a consequence of revival of aesthesis in contemporary aesthetics. The concept of atmospheres changes the model of perception from mechanical-cognitivistic to pathic and existential: perception is not grasping the sensitive qualities of things, but bodily sensing ourselves in the presence of atmospheres filling space or environment. Traditional concept of aisthesis and aesthetics as a science of sensitive knowledge provides a model for

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2

Ortlieb, Stefan A., Werner A. Kügel, and Claus-Christian Carbon. "Fechner (1866): The Aesthetic Association Principle—A Commented Translation." i-Perception 11, no. 3 (2020): 204166952092030. http://dx.doi.org/10.1177/2041669520920309.

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Most of the groundbreaking works of Gustav Theodor Fechner (1801–1887), who paved the way for modern experimental psychology, psychophysics, and empirical aesthetics, are so far only available in German. With the first full text translation of Fechner’s article on The Aesthetic Association Principle ( Das Associationsprincip in der Aesthetik), we want to fill in one of the blank spots in the reception of his Aesthetics from Below (Aesthetik von Unten). In his 1866 article, Fechner devises a fundamental principle that accounts for the role of associations in the formation of aesthetic preferenc

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3

ABAYLI, Özcan. "AESTHETIC THEORY IN TURKIS MUSIC PERFORMANCE METHODS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 39 (2023): 425–34. http://dx.doi.org/10.31567/ssd.1014.

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The issue of what should be the elements that make up the aesthetics in Turkish Music performance methods has not been adequately addressed scientifically. However, Turkish music contains the rich aesthetic accumulation of a deep-rooted cultural heritage that extends to the present day. It is inevitable that the aesthetic elements in the maqam, rhythm and melodic structures of Turkish Music works will make significant contributions to both academic studies and performance. In this context, aesthetics and music philosophy especially in the creation processes of musical works have a special impo

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4

Shapiro, Henry L., and T. W. Adorno. "Aesthetic Theory." Philosophical Review 95, no. 2 (1986): 288. http://dx.doi.org/10.2307/2185602.

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5

Geuss, Raymond, Theodor W. Adorno, Gretel Adorno, Rolf Tiedemann, and C. Lenhardt. "Aesthetic Theory." Journal of Philosophy 83, no. 12 (1986): 732. http://dx.doi.org/10.2307/2026697.

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6

Zuidervaart, Lambert, T. W. Adorno, C. Lenhardt, Gretel Adorno, and Rolf Tiedemann. "Aesthetic Theory." Journal of Aesthetics and Art Criticism 44, no. 2 (1985): 195. http://dx.doi.org/10.2307/430523.

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7

Boyne, Roy, T. W. Adorno, and Martin Jay. "Aesthetic Theory." British Journal of Sociology 37, no. 1 (1986): 154. http://dx.doi.org/10.2307/591069.

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8

Regier, Willis G., Theodor W. Adorno, Gretel Adorno, Rolf Tiedemann, and C. Lenhardt. "Aesthetic Theory." MLN 101, no. 3 (1986): 705. http://dx.doi.org/10.2307/2905615.

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9

Ray, Larry. "Aesthetic Theory." International Studies in Philosophy 22, no. 1 (1990): 79–80. http://dx.doi.org/10.5840/intstudphil199022180.

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10

David-West. "North Korean Aesthetic Theory: Aesthetics, Beauty, and “Man”." Journal of Aesthetic Education 47, no. 1 (2013): 104. http://dx.doi.org/10.5406/jaesteduc.47.1.0104.

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11

PŁOTKA, WITOLD. "BEYOND ONTOLOGY: ON BLAUSTEIN’S RECONSIDERATION OF INGARDEN’S AESTHETICS." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 552–78. http://dx.doi.org/10.21638/2226-5260-2020-9-2-552-578.

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The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a student of Ingarden, whose theory seems to

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12

Greiman, Jennifer. "Democratic Aesthetics, Aesthetic Democracy." American Literary History 35, no. 1 (2023): 400–410. http://dx.doi.org/10.1093/alh/ajac234.

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Abstract This essay reviews four new books, each of which assesses the prospects of contemporary democracy in the face of wide-ranging crises—from the legacies of settler colonialism to the resurgence of right-wing nationalism—and finds possibilities for democratic renewal in aesthetic orientations and practices. Taken together, Jason Frank’s The Democratic Sublime (2021), Andrés Fabián Henao Castro’s Antigone in the Americas (2021), Michael Steinberg’s The Afterlife of Moses (2022), and Elisabeth Anker’s Ugly Freedoms (2022) suggest that the aesthetic turn in democratic theory most closely as

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13

Berleant, Arnold. "What is Aesthetic Engagement?" International Yearbook of Aesthetics 18 (January 1, 2015): 17–19. https://doi.org/10.17613/M60G3GX6W.

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Aesthetic engagement is the central concept of an aesthetic theory that came as an alternative to the aesthetic disinterestedness of traditional aesthetics. It emerged in response to developments in the contemporary arts that emphasized the direct involvement of an active appreciator in the art object, overcoming the customary separation between them. Aesthetic engagement thus rejects the dualism inherent in customary accounts of aesthetic appreciation and epitomized in Kantian aesthetics, which treats aesthetic experience as the subjective appreciation of a beautiful object. Instead, aestheti

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14

Wildt, Franziska. "Aesthetics of Resistance: On the Politics of Aesthetic Thought in Hegel’s Theory of Art and Peter Weiss’ Novel The Aesthetics of Resistance." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 1–13. http://dx.doi.org/10.25038/am.v0i22.385.

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hrough a confrontation of Hegel’s Lectures On Aesthetics and Peter Weiss’ novel The Aesthetics of Resistance this paper criticizes the theory of aesthetics for its lack of aesthetic thinking. Hegel’s theory of aesthetics is introduced as a paradigmatic case of this problem, while The Aesthetics of Resistance is read as an attempt to “re-aestheticize” the thought of aesthetics. Following a brief introduction and contextualization of the problem within the theoretical discourse on “aestheticization”, Hegel’s theory is analyzed and then contrasted to The Aesthetics of Resistance. The analysis is

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15

Clewis, Robert R. "Aesthetic Normativity in Freiburg." History of Philosophy Quarterly 39, no. 2 (2022): 183–97. http://dx.doi.org/10.5406/21521026.39.2.06.

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Abstract Aesthetic normativity continues to be of interest in contemporary aesthetics, and significant contributions to the topic can be found in neo-Kantianism. This article examines the account of aesthetic normativity presented by Jonas Cohn (1869–1947), a member of the Southwestern school of neo-Kantianism and author of a 1901 book on aesthetics. Cohn's Kantian-Hegelian theory of aesthetic normativity deserves more examination than it has so far received. Even if one does not accept all of its main arguments, Cohn's theory offers an interesting alternative to the third Critique's account o

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16

Woods, Walter A., and Thomas C. Padgett. "Aesthetics Applied to Fashion Apparel." Empirical Studies of the Arts 5, no. 1 (1987): 15–30. http://dx.doi.org/10.2190/g0eu-c5ec-ggq5-2ly7.

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An apparently ambiguous status for aesthetics in fashion theory is noted and discussed and an applied aesthetics approach to supplement the current communications theory approach is proposed. Two classes of aesthetic properties—intrinsic formal and extrinsic symbolic content—are discussed in terms of stimulus properties. Certain stimulus properties are used in an experiment in which it is demonstrated that aesthetic properties can be identified and used in evaluating fashion apparel. The findings suggest that when aesthetic criteria are considered in fashion theory, classical fashion concepts

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17

Lewis, Peter. "Hume’s Aesthetic Theory." International Philosophical Quarterly 42, no. 3 (2002): 406–8. http://dx.doi.org/10.5840/ipq200242335.

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18

Guyer, Paul. "Kant’s Aesthetic Theory." International Studies in Philosophy 25, no. 3 (1993): 131–33. http://dx.doi.org/10.5840/intstudphil199325338.

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19

Paddison, Max, and Theodor W. Adorno. "Adorno's 'Aesthetic Theory'." Music Analysis 6, no. 3 (1987): 355. http://dx.doi.org/10.2307/854210.

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20

Donougho, Martin. "Adorno’s Aesthetic Theory." Teaching Philosophy 16, no. 1 (1993): 78–79. http://dx.doi.org/10.5840/teachphil199316112.

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21

Woods, Peter J. "Aesthetics in the Eugenics Movement: A Critical Examination." Journal of Aesthetic Education 56, no. 2 (2022): 56–77. http://dx.doi.org/10.5406/15437809.56.2.04.

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Abstract Although multiple scholars have pushed music education to embrace the aesthetic as a curricular and pedagogical touchstone, research surrounding this aesthetic turn has largely framed aesthetics as a sensory experience rather than a social technology (one that can both liberate and oppress). In response, I address the following question: how do uncritical aesthetic philosophies and the experiences they engender act as a means of oppression within music education? By way of example, I approach this question through a text analysis of writings on aesthetics from The Eugenics Review, a l

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22

Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.

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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the l

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23

Biehl-Missal, Brigitte, and Michael Saren. "Atmospheres of Seduction." Journal of Macromarketing 32, no. 2 (2012): 168–80. http://dx.doi.org/10.1177/0276146711433650.

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This article introduces the concept of the “atmosphere” from aesthetic theory to contribute to critical research on the aesthetic, embodied experience in retailing, and consumption spaces, which has received little attention in the marketing literature. The article draws on the “new aesthetics” of Gernot Böhme which is not a theory of art or the works of art but considers the full range of “aesthetic work” including marketing practices. Contributing to the art-versus-commerce debate, this framework suggests differentiating between atmospheres in the arts and in marketing, and it suggests the c

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24

Hwang, Hyeryung. "Revisiting the Realism/Modernism Debate: Marxist Thought and the Ethics of Representation." Criticism and Theory Society of Korea 29, no. 1 (2024): 293–315. http://dx.doi.org/10.19116/theory.2024.29.1.293.

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In Utopian Generations: The Political Horizon of Twentieth-Century Literature (2005), Nicholas Brown remarks on the difference between realism and modernism as one that expresses a conflict between “a responsibility to historical truth” and “a fidelity to the formal energies released by the emergence of a form of subjectivity liberated (or alienated) from historical consciousness” (182). This raises several issues that might be useful for us to develop since, despite the emergence of diverse critical lines of thought since the development of postwar critical theory, realism and modernism have

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25

Xuelian, Lei. "On the Aesthetic Effects in Chinese-English Translation." International Journal of Case Studies 5, no. 11 (2016): 41–47. https://doi.org/10.5281/zenodo.3533571.

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Translation is a kind of practice that turns one language into another language. In fact, this is an interchanging course of the form and soul of the source and target texts. This paper aims to study and explore the aesthetic effects based on the aesthetics and the fundamental theory of translation, which reveals the common principles of the aesthetical activities in translation.

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26

Napadysta, V. G., and O. D. Rykhlitska. "AESTHETICS OF EVERYDAY LIFE: THEMATIC VARIATIONS AND RESEARCH PROSPECTS." UKRAINIAN CULTURAL STUDIES, no. 1(10) (2022): 16–19. http://dx.doi.org/10.17721/ucs.2022.1(10).03.

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The article considers the peculiarities of the formation and thematic evolution of the aesthetics of everyday life. Emphasis is placed on the fact that the orientation of classical aesthetic theory on the artistic sphere left out of the attention of researchers non-artistic sources of aesthetic expe- rience, and the versatility of the phenomenon of everyday life, its connotation with trivial, boring, routine, repetitive created certain prejudices for seeing the aesthetic component in everyday practices and recognizing the existence of objects of aesthetic experience among its material world. T

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27

Chung, Jaesik. "Gregory Bateson’s Aesthetic Circuits of the Mind." Criticism and Theory Society of Korea 23, no. 2 (2018): 93–117. http://dx.doi.org/10.19116/theory.2018.23.2.93.

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28

Ryu, Young-Hyeon. "The Question of Convention and Stereotype in George Eliot’s Realism: Focusing on Chapter 17 in Adam Bede." Criticism and Theory Society of Korea 28, no. 3 (2023): 55–79. http://dx.doi.org/10.19116/theory.2023.28.3.55.

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This paper examines the issue of stereotypes and conventions as constitutive elements of the realist form, focusing on chapter 17 of Adam Bede, which is most often cited when discussing the realist aesthetic of 19th-century English writer George Eliot. The emphasis on stereotypes and conventions is centered on Eliot’s observation of the still life. I argue that Eliot’s fiction aims for moral truth rather than mechanical objectivity in its representations in order to elicit reader’s sympathy. As such, Eliot’s realism emphasizes empirical observation while simultaneously embracing idealism. In a

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29

Meng, Fanjun, and Yushui Liang. "A New Interpretation of the Essence of Aesthetic Experience: From the Perspective of Cognitive Neuroaesthetics and Aesthetic Anthropology." Journal of Aesthetic Education 56, no. 4 (2022): 97–120. http://dx.doi.org/10.5406/15437809.56.4.07.

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Abstract In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the su

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Zhang, Yunchen, and Muhammad Fadhil Wong Abdullah. "Integrating Aesthetic Theory into the Design of Immersive Exhibitions for Data Imaging." Journal of Information Systems Engineering and Management 9, no. 4 (2024): 25317. http://dx.doi.org/10.55267/iadt.07.15203.

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The aim of this study is to integrate the aesthetic theory into an immersive data imaging exhibition that shows how aesthetic principles influence user engagement, visual appealing and complex interaction in Tri Sphere Technologies. The study used mixed methodology for evaluating immersive visualization styles on interaction complexity, typography, average rating, color harmony and information architecture as well as aesthetics. The qualitative analysis investigated the immersive user engagement, exploration of data and aesthetic appealing in Tri Sphere Technologies visualizations. The data an

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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of &ldquo;Black Arts&rdquo; movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impac

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Stepanova, Anna A., and Ilona V. Dorohan. "AESTHETIC VS ARTISTIC CONSCIOUSNESS: TYPOLOGY OF AESTHETICS AND LITERATURE INTERACTION." Alfred Nobel University Journal of Philology 2, no. 26/1 (2023): 22–32. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-2.

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The objective of the work is to study the specifics of aesthetic and artistic consciousness in their interaction in terms of literary comprehension of philosophical concepts; to highlight the levels of interaction between aesthetics and literature as a factor in the formation of aesthetic dominants of the literary trend and artistic method. The focus of the work determines the use of cultural-historical, historicalliterary, philosophical and aesthetic research methods. Aesthetic consciousness is understood as a mode of intellectual-sensory perception (and assessment) of empirical reality, whic

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Shusterman, Richard. "Art, Eros, and Liberation: Aesthetic Education between Pragmatism and Critical Theory." Journal of Aesthetic Education 58, no. 1 (2024): 1–24. http://dx.doi.org/10.5406/15437809.58.1.01.

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Abstract After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence

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Qiu, Qing. "Analysis of Aesthetic Homogeneity Based on the Theory of The Society of the Spectacle — Taking Xiaohongshu as an Example." SHS Web of Conferences 159 (2023): 02006. http://dx.doi.org/10.1051/shsconf/202315902006.

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Nowadays, people always pursue the trend of the popular new things and thus gradually have similar aesthetics to others, resulting in the homogeneity of people’s aesthetics. For example, Xiaohongshu provides contemporary young women with aesthetic guidelines on life and cosmetics. Users of Xiaohongshu are also willing to accept and imitate such an aesthetic style. In addition, in the process of communication, it built a false spectacle. The algorithm mechanism of big data and the KOL role of bloggers make the contents of Xiaohongshu in the spectacle similar, resulting in the homogeneity of aes

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Matravers, Derek. "The Value of Aesthetic Value: Aesthetics, Ethics, and The Network Theory." Disputatio 13, no. 62 (2021): 189–204. http://dx.doi.org/10.2478/disp-2021-0011.

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Abstract The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent approaches to aesthetic value—in particular Dominic McIver Lopes’s ‘Network

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Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.

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Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive

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Grbovic, Sasa. "Relations between the arts: The stratification theory." Theoria, Beograd 67, no. 1 (2024): 171–81. http://dx.doi.org/10.2298/theo2401171g.

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This article is dedicated to Hartmann?s stratification theory, which he develops within his aesthetics. The first part of the article discusses Hartmann?s idea about the two strata structure of the aesthetic object, consisting of its foreground and background. In the second part of the paper, an initial comparative analysis of the aesthetic objects of fine arts, poetry, music and architecture is carried out based on his thesis about the relationship of appearance of the background in the sensory foreground. The last part of the paper is dedicated to the reconstruction and interpretation of Har

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38

John, Eileen. "Can Aesthetics Be Global?" Royal Institute of Philosophy Supplement 93 (May 2023): 209–30. http://dx.doi.org/10.1017/s1358246123000061.

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AbstractPhilosophical aesthetics is to some extent beholden to what I will call personal aesthetics. By personal aesthetics, I mean the phenomena of individual aesthetic sensitivity: how each of us discerns and responds to elements of experience. I take that sensitivity to be finely woven into feeling to some degree at home in the world. There is something extremely local, and in a certain sense unreflective, about personal aesthetics – it is hard to notice one's own, historically specific aesthetic formation. Philosophical aesthetics, meanwhile, aspires to understand aesthetic life in a more

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Grubor, Nebojsa. "Aesthetic attitude, aesthetic experiences and aesthetic emotions: Analysis from the perspective of Ingarden′s aesthetics." Theoria, Beograd 65, no. 2 (2022): 99–109. http://dx.doi.org/10.2298/theo2202099g.

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The text discusses three basic aesthetic concepts: the concept of aesthetic attitude, aesthetic experience and aesthetic emotions, as well as their mutual relationship. The basis of the analysis is the Maria Reicher?s determination of the structure of the aesthetic experience and Roman Ingarden?s theory of aesthetic experience. The paper shows how dynamically and mutually conditioned two basic elements - representation and feeling - constitute an aesthetic experience. The aesthetic experiences begins with the original emotion. The original emotion reveals the aesthetic qualities of the object,

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P, Senthilnathan. "Aesthetic Principles in P. Vijay's Screen Songs." International Research Journal of Tamil 4, S-19 (2022): 101–6. http://dx.doi.org/10.34256/irjt224s1916.

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Many natural and artificial things are created by human. The basis of aesthetic analysis is to study the method of expressing the aesthetic feelings found in God's creations, such as love, character of a person, and form. Aesthetics identifies and interprets this beauty as it is. There are views and ideologies about what beauty is rather than what it is. Generally, aesthetics is a concept that is built on arts. Aesthetics is the source of power for various arts such as in paintings, music and songs. Therefore, this methodology is considered as an art-literary theory. Writers of aesthetic theor

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Räber, Michael Ivo. "Democratic freedom as an aesthetic achievement: Peirce, Schiller and Cavell on aesthetic experience, play and democratic freedom." Philosophy and Social Criticism 49, no. 3 (2022): 332–55. https://doi.org/10.5281/zenodo.10118705.

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In this essay, I reconsider the constitution of democratic freedom in aesthetic terms. My interest is in articulating a conception of aesthetic freedom that can be mapped onto a conception of democratic freedom. For this purpose, I bring together Charles Sanders Peirce's ontology, which comprises fragments of an aesthetic theory, Friedrich Schiller's concept of aesthetic play and Stanley Cavell's democratic perfectionism. By providing a philosophical framework for constructing an aesthetics and politics that supports the recent aesthetic turn in political theory, which urges overcoming politic

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Wilson, Ross. "Dialectical Aesthetics and the Kantian Rettung: On Adorno's Aesthetic Theory." New German Critique 35, no. 2 (2008): 55–69. http://dx.doi.org/10.1215/0094033x-2008-003.

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43

Cho, Kyung Jin. "Harman's Theory of Art : Aesthetics of Aesthetic Tension and Metaphor." Korean Association for Visual Culture 43 (December 31, 2023): 5–42. http://dx.doi.org/10.21299/jovc.2023.43.1.

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Lazarev, Maxim, Taymuraz Temirov, and Vasily Podvoysky. "Work programs on disciplines "Aesthetics" and "Theory of Aesthetic Education"." Humanity space. International almanac 6, no. 3 (2017): 417–45. https://doi.org/10.24412/FhVWLQqv6vo.

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Programs designed for the preparation of candidates for the scientific degree of Candidates of Sciences engaged in scientific research in the field of pedagogical sciences have been developed. Fundamental positions of these programs is the consideration of the main problems of aesthetics in the context of philosophical-ontological, philosophical-anthropological and philosophical-cultural concepts, which makes it possible to clearly reveal the specifics of the object of aesthetics.

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Gan, Shen Qi, and Hong Zhang. "The Discussion of the Concept of Sustainable Development of Ecological Architectural Aesthetics." Advanced Materials Research 598 (November 2012): 8–11. http://dx.doi.org/10.4028/www.scientific.net/amr.598.8.

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This paper introduces the basic concepts of ecological aesthetic, pointing out that the ecological aesthetic comes from population, resources, environment and other factors, understanding the natural beauty from the harmonious compatibility between man and nature, the environment, perception, greatly improving the aesthetic value of taste. This paper introduces the core categories、aesthetic standards and the three characteristics of ecological architectural aesthetics in detail, interpret the ecological architecture and its aesthetic theory.

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Pensky, Max. "Natural History and Aesthetic Truth in Aesthetic Theory." New German Critique 48, no. 2 (2021): 23–41. http://dx.doi.org/10.1215/0094033x-8989218.

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Abstract Theodor W. Adorno’s claim in Aesthetic Theory that artworks have a truth content, and that this truth content in turn depends on philosophical interpretation, is among the work’s most challenging and obscure claims. This article argues that “The Idea of Natural History,” Adorno’s lecture dating to 1932, offers important resources for interpreting the claim of art’s truth content. Reading the lecture’s core idea of transience, the article proposes that the form of philosophical interpretation Adorno develops there illuminates one way to clarify what Adorno means, in Aesthetic Theory, b

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Tang, Shijia. "Boris Groys’ Theory of Equal Rights in Aesthetics." International Journal of Culture and History 8, no. 1 (2021): 107. http://dx.doi.org/10.5296/ijch.v8i1.18521.

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The concept of aesthetic equality was put forward by Groys, one of the important contemporary art theorists and critics, against the background of the decline of multiculturalism and the emergence of the drawbacks of postmodernism. This concept is mainly aimed at the overcorrection of postmodernism, which regards the confrontation with mainstream culture and traditional values as a problem of political correctness. It refers to the equality of aesthetic judgment and aesthetic choice. Aesthetic value judgment can not be evaluated according to the commercial value in the market circulation, nor

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Muraskin, M. "Nonintegrable aesthetic field theory." Mathematical and Computer Modelling 10, no. 8 (1988): 571–81. http://dx.doi.org/10.1016/0895-7177(88)90128-8.

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Gallie, R. "Review: Hume's Aesthetic Theory." Mind 111, no. 444 (2002): 916–19. http://dx.doi.org/10.1093/mind/111.444.916.

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YILDIZER, Eylem. "THE CONCEPT OF TOTALITY IN LUKÁCS' AESTHETIC THEORY." Socrates Journal of Interdisciplinary Social Studies 30 (June 11, 2023): 93–100. https://doi.org/10.5281/zenodo.8024615.

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Among the philosophers who contributed to the aesthetics in the twentieth century, Georg Lukács asked the question of the source of art and how human labour developed historically and socially as a fundamental category while transforming into artistic activity, not only in <em>Aesthetics</em>, but also in one of his first works, such as <em>The Theory of the Novel</em> which was completed in 1914-15. Although Lukács, in the preface he wrote to the 1962 edition of the work, looks back at his approach to literature and philosophy and criticizes himself for having a synthetic attitu

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